Life in a year of pictures set to one of the most beautiful pieces of music ever created.
Check out our Websites
WorldUnitedMusichttp://worldunitedmusic.blogspot.com/
World United Awakening
http://worldunitedawakening.blogspot.ca/
Art & Expressions of SF Brennan
http://sfbrennanart.blogspot.ca/
World United News
http://worldunitednews.blogspot.com/

Collins Classics OFFICIAL - Beethoven (FULL ALBUM)
Symphony No.6 "Pastorale" and Egmont Overture Op.68
Buy it here: http://apple.co/1IRxKWV
Spotify: http://spoti.fi/204jBk0
Read the CD booklet here: http://bit.ly/1JzFqNs
0:00 I AllegroMa Non Troppo "Awakening of cheerful feelings on arrival in the countryside."
12:24 II Andante Molto Mosso "Scene by the brook."
25:35 III Allegro "Merry gathering of country folk."
31:11 IV Allegro "Thunder. Storm."
34:49 V Allegretto "Shepherd's song. Happy and thankful feelings after the storm."
45:48 VI Sostenuto Ma Non Troppo "Egmont Overture"
Conducted by James Loughran
Performed by the London Philarmonic OrchestraSymphony No. 6 in F major, Op. 68 ‘Pastoral’
Beethoven provided the movements at this symphony with titles, as well as the work itself; but he also declared that he was concerned with sensation rather than depiction — in fact his
own musical reactions to country Iife, and not what life in the country looks and sounds like. There is in fact some pictorial effect in the Pastoral Symphony: the birdcalls at the end of the
Andante sound Iike birdcalls and not like Beethoven’s reaction to birdsong; and the Storm is perfectly vivid, But the work is not a country diary which can be followed step by step, and so
it is probably best to think about the music as music.
The Pastoral was completed quite quickly, for Beethoven, between 1807 and 1808, as a relaxation from the ardours at the Fifth Symphony. The two symphonies were performed together
at a concert in 1808, and both were dedicated to two at Beethoven's princely friends jointly.
The symphony opens at a relaxed tempo but with bracing thoughts, and the subtitle speaks of the blessed exhilaration that the town—dweller feels on breathing country air’. The music is
more lyrical than dramatic, and the ideas which supplement the easy— going first tune are presented in a conversational, almost obviously not quite casual manner, though they are thoroughly expanded as the movement proceeds. The whole thing sounds what it is, a contrast to the electric drama of the Fifth Symphony.
The broad unhurried pace is maintained in the slow movement which was inspired by the landscape at a riverside. As the movement unfolds expansively, so too the music grows more
sonorous and warmer, with the rich advantage at divided and muted cellos. When the famous birdcalls arrive, they are neatly dovetailed into a longer phrase, and the cuckoo call is echoed
unobtrusively in the second half at the phrase by bassoons. The scherzo has the subtitle, ‘High-spirited reunion at country Folk’; it is mercurial and yet sturdy in mood, not at all unlike the scherzo part at the corresponding movement in the Seventh Symphony, Beethoven comes near to tone—painting in the trio section, where it is easy to hear the stamping of hob—nailed boots, but the inspiration has undergone a transformation into musical poetry, and it is more exact to say that the music is danceable, rather than literally danced. Beethoven was in the habit of enlarging his scherzo form by playing the trio section twice, but this time the second trio is interrupted by a pattering figure that heralds the Storm section, for which Beethoven augmented his orchestra with a piccolo, trombones and, for the first time in this symphony, the
drums. When the storm has passed, a sigh of relief from the oboe leads to C major and the finale. And this unorthodox key shows that the movement had actually begun with the Storm in F minor, which is perfectly proper key for the introduction to an F major movement. The descriptive part of the symphony here is the excuse for a reintroduction of the eloquent formal device that Beethoven was simultaneously practising in the Fifth Symphony — an introduction to the finale that sounds like a bridge passage though it isn’t one. The Allegro port of the finale is built on a cowcall, and is headed ‘Shepherds Hymn‘. Like the ﬁrst movement it deliberately avoids drama and obvious symphonic effect, though the climax is overwhelming,
’Egmont' Overture, Op. 84
After Fidelio, Egmont is Beethoven's most substantial dramatic score. As with the third Leonora overture, so the overture to Egmont is a grand tone poem summing up the emotional content
of the drama. Egmont, Prince of Gaure, saved Flanders from the French invasion, at a time in the sixteenth century when the Netherlands were under Spanish rule. He protested against the
decision to make Flanders a Spanish dependency and was arrested and condemned For treason through the machinations of the Duke of Alba, his enemy and the military governor of Flanders. In the overture we hear contrasted moods that express at once the conflict of patriotism and love, and of harsh Spain and suffering Flanders; this is a completely satisfying and convincing ambivalence that is music's special property.

Surname

A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.

The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.

The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.

No. 6

No. 6 is a nine-volume novel series written by Atsuko Asano and published by Kodansha between October 2003 and June 2011. A manga adaptation drawn by Hinoki Kino began serialization in the March 2011 issue of Kodansha's Aria magazine. An anime TV series adaptation by Bones began airing in Japan in July 2011.

Plot

The story takes place in the "ideal" and perfect city known as "No.6". Shion, a boy raised in the elite and privileged environment of his home, gives shelter to another boy, who only gives his name as "Rat" on the former's 12th birthday. What Shion soon discovers is how drastically life will change after meeting with the mysterious Rat, whom he had saved one unforgettable, stormy night.

Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

Origins

The word symphony is derived from Greekσυμφωνία (symphonia), meaning "agreement or concord of sound", "concert of vocal or instrumental music", from σύμφωνος (symphōnos), "harmonious". The word referred to an astonishing variety of different things, before ultimately settling on its current meaning designating a musical form.

BEETHOVEN Symphony No 6 (Pastoral) in F Op 68 LEONARD BERNSTEIN

Beethoven - 6th Symphony - Pastoral

Life in a year of pictures set to one of the most beautiful pieces of music ever created.
Check out our Websites
WorldUnitedMusichttp://worldunitedmusic.blogspot.com/
World United Awakening
http://worldunitedawakening.blogspot.ca/
Art & Expressions of SF Brennan
http://sfbrennanart.blogspot.ca/
World United News
http://worldunitednews.blogspot.com/

Collins Classics OFFICIAL - Beethoven (FULL ALBUM)
Symphony No.6 "Pastorale" and Egmont Overture Op.68
Buy it here: http://apple.co/1IRxKWV
Spotify: http://spoti.fi/204jBk0
Read the CD booklet here: http://bit.ly/1JzFqNs
0:00 I AllegroMa Non Troppo "Awakening of cheerful feelings on arrival in the countryside."
12:24 II Andante Molto Mosso "Scene by the brook."
25:35 III Allegro "Merry gathering of country folk."
31:11 IV Allegro "Thunder. Storm."
34:49 V Allegretto "Shepherd's song. Happy and thankful feelings after the storm."
45:48 VI Sostenuto Ma Non Troppo "Egmont Overture"
Conducted by James Loughran
Performed by the London Philarmonic OrchestraSymphony No. 6 in F major, Op. 68 ‘Pastoral’
Beethoven provided the movements at this symphony with titles, as well as the work itself; but he also declared that he was concerned with sensation rather than depiction — in fact his
own musical reactions to country Iife, and not what life in the country looks and sounds like. There is in fact some pictorial effect in the Pastoral Symphony: the birdcalls at the end of the
Andante sound Iike birdcalls and not like Beethoven’s reaction to birdsong; and the Storm is perfectly vivid, But the work is not a country diary which can be followed step by step, and so
it is probably best to think about the music as music.
The Pastoral was completed quite quickly, for Beethoven, between 1807 and 1808, as a relaxation from the ardours at the Fifth Symphony. The two symphonies were performed together
at a concert in 1808, and both were dedicated to two at Beethoven's princely friends jointly.
The symphony opens at a relaxed tempo but with bracing thoughts, and the subtitle speaks of the blessed exhilaration that the town—dweller feels on breathing country air’. The music is
more lyrical than dramatic, and the ideas which supplement the easy— going first tune are presented in a conversational, almost obviously not quite casual manner, though they are thoroughly expanded as the movement proceeds. The whole thing sounds what it is, a contrast to the electric drama of the Fifth Symphony.
The broad unhurried pace is maintained in the slow movement which was inspired by the landscape at a riverside. As the movement unfolds expansively, so too the music grows more
sonorous and warmer, with the rich advantage at divided and muted cellos. When the famous birdcalls arrive, they are neatly dovetailed into a longer phrase, and the cuckoo call is echoed
unobtrusively in the second half at the phrase by bassoons. The scherzo has the subtitle, ‘High-spirited reunion at country Folk’; it is mercurial and yet sturdy in mood, not at all unlike the scherzo part at the corresponding movement in the Seventh Symphony, Beethoven comes near to tone—painting in the trio section, where it is easy to hear the stamping of hob—nailed boots, but the inspiration has undergone a transformation into musical poetry, and it is more exact to say that the music is danceable, rather than literally danced. Beethoven was in the habit of enlarging his scherzo form by playing the trio section twice, but this time the second trio is interrupted by a pattering figure that heralds the Storm section, for which Beethoven augmented his orchestra with a piccolo, trombones and, for the first time in this symphony, the
drums. When the storm has passed, a sigh of relief from the oboe leads to C major and the finale. And this unorthodox key shows that the movement had actually begun with the Storm in F minor, which is perfectly proper key for the introduction to an F major movement. The descriptive part of the symphony here is the excuse for a reintroduction of the eloquent formal device that Beethoven was simultaneously practising in the Fifth Symphony — an introduction to the finale that sounds like a bridge passage though it isn’t one. The Allegro port of the finale is built on a cowcall, and is headed ‘Shepherds Hymn‘. Like the ﬁrst movement it deliberately avoids drama and obvious symphonic effect, though the climax is overwhelming,
’Egmont' Overture, Op. 84
After Fidelio, Egmont is Beethoven's most substantial dramatic score. As with the third Leonora overture, so the overture to Egmont is a grand tone poem summing up the emotional content
of the drama. Egmont, Prince of Gaure, saved Flanders from the French invasion, at a time in the sixteenth century when the Netherlands were under Spanish rule. He protested against the
decision to make Flanders a Spanish dependency and was arrested and condemned For treason through the machinations of the Duke of Alba, his enemy and the military governor of Flanders. In the overture we hear contrasted moods that express at once the conflict of patriotism and love, and of harsh Spain and suffering Flanders; this is a completely satisfying and convincing ambivalence that is music's special property.

BEETHOVEN Symphony No 6 (Pastoral) in F Op 68 LEONARD BERNSTEIN

Beethoven - 6th Symphony - Pastoral

Life in a year of pictures set to one of the most beautiful pieces of music ever created.
Check out our Websites
WorldUnitedMusichttp://worldunitedmusic.blogspot.com/
World United Awakening
http://worldunitedawakening.blogspot.ca/
Art & Expressions of SF Brennan
http://sfbrennanart.blogspot.ca/
World United News
http://worldunitednews.blogspot.com/

Beethoven: Sonata No.15 in D Major, "Pastoral" (Lewis, Biss)

The 15thSonata is B. at his most beautiful: a thing of touching and generous serenity that's nonetheless put together with a lot of skill and subtlety. Mvt 1 is notable for its timpani-like bass drone (which first pretends to be the dominant of G), murmuring like a heartbeat, and for the development, which builds into fury by radically compressing the sonata’s first theme and features 38 bars of unchanging harmony that does not(!) lead to the recapitulation. Mvt 2 begins in stately, profound sadness, and only grows in intricacy as it progresses: honestly, it’s just one of the loveliest things B. wrote. Mvt 3 trades on contrast between long and short notes, and its trio is just the same melody 8 times, though you wouldn’t even notice it, so cunningly (and subtly is it transformed) each tim...

Life in a year of pictures set to one of the most beautiful pieces of music ever created.
Check out our Websites
WorldUnitedMusichttp://worldunitedmusic.blogspot.com/
World United Awakening
http://worldunitedawakening.blogspot.ca/
Art & Expressions of SF Brennan
http://sfbrennanart.blogspot.ca/
World United News
http://worldunitednews.blogspot.com/

Life in a year of pictures set to one of the most beautiful pieces of music ever created.
Check out our Websites
WorldUnitedMusichttp://worldunitedmusic.blogspot.com/
World United Awakening
http://worldunitedawakening.blogspot.ca/
Art & Expressions of SF Brennan
http://sfbrennanart.blogspot.ca/
World United News
http://worldunitednews.blogspot.com/

Collins Classics OFFICIAL - Beethoven (FULL ALBUM)
Symphony No.6 "Pastorale" and Egmont Overture Op.68
Buy it here: http://apple.co/1IRxKWV
Spotify: http://spoti.fi/204jBk0
Read the CD booklet here: http://bit.ly/1JzFqNs
0:00 I AllegroMa Non Troppo "Awakening of cheerful feelings on arrival in the countryside."
12:24 II Andante Molto Mosso "Scene by the brook."
25:35 III Allegro "Merry gathering of country folk."
31:11 IV Allegro "Thunder. Storm."
34:49 V Allegretto "Shepherd's song. Happy and thankful feelings after the storm."
45:48 VI Sostenuto Ma Non Troppo "Egmont Overture"
Conducted by James Loughran
Performed by the London Philarmonic OrchestraSymphony No. 6 in F major, Op. 68 ‘Pastoral’
Beethoven provided the movements at this symphony with titles, as well as the work itself; but he also declared that he was concerned with sensation rather than depiction — in fact his
own musical reactions to country Iife, and not what life in the country looks and sounds like. There is in fact some pictorial effect in the Pastoral Symphony: the birdcalls at the end of the
Andante sound Iike birdcalls and not like Beethoven’s reaction to birdsong; and the Storm is perfectly vivid, But the work is not a country diary which can be followed step by step, and so
it is probably best to think about the music as music.
The Pastoral was completed quite quickly, for Beethoven, between 1807 and 1808, as a relaxation from the ardours at the Fifth Symphony. The two symphonies were performed together
at a concert in 1808, and both were dedicated to two at Beethoven's princely friends jointly.
The symphony opens at a relaxed tempo but with bracing thoughts, and the subtitle speaks of the blessed exhilaration that the town—dweller feels on breathing country air’. The music is
more lyrical than dramatic, and the ideas which supplement the easy— going first tune are presented in a conversational, almost obviously not quite casual manner, though they are thoroughly expanded as the movement proceeds. The whole thing sounds what it is, a contrast to the electric drama of the Fifth Symphony.
The broad unhurried pace is maintained in the slow movement which was inspired by the landscape at a riverside. As the movement unfolds expansively, so too the music grows more
sonorous and warmer, with the rich advantage at divided and muted cellos. When the famous birdcalls arrive, they are neatly dovetailed into a longer phrase, and the cuckoo call is echoed
unobtrusively in the second half at the phrase by bassoons. The scherzo has the subtitle, ‘High-spirited reunion at country Folk’; it is mercurial and yet sturdy in mood, not at all unlike the scherzo part at the corresponding movement in the Seventh Symphony, Beethoven comes near to tone—painting in the trio section, where it is easy to hear the stamping of hob—nailed boots, but the inspiration has undergone a transformation into musical poetry, and it is more exact to say that the music is danceable, rather than literally danced. Beethoven was in the habit of enlarging his scherzo form by playing the trio section twice, but this time the second trio is interrupted by a pattering figure that heralds the Storm section, for which Beethoven augmented his orchestra with a piccolo, trombones and, for the first time in this symphony, the
drums. When the storm has passed, a sigh of relief from the oboe leads to C major and the finale. And this unorthodox key shows that the movement had actually begun with the Storm in F minor, which is perfectly proper key for the introduction to an F major movement. The descriptive part of the symphony here is the excuse for a reintroduction of the eloquent formal device that Beethoven was simultaneously practising in the Fifth Symphony — an introduction to the finale that sounds like a bridge passage though it isn’t one. The Allegro port of the finale is built on a cowcall, and is headed ‘Shepherds Hymn‘. Like the ﬁrst movement it deliberately avoids drama and obvious symphonic effect, though the climax is overwhelming,
’Egmont' Overture, Op. 84
After Fidelio, Egmont is Beethoven's most substantial dramatic score. As with the third Leonora overture, so the overture to Egmont is a grand tone poem summing up the emotional content
of the drama. Egmont, Prince of Gaure, saved Flanders from the French invasion, at a time in the sixteenth century when the Netherlands were under Spanish rule. He protested against the
decision to make Flanders a Spanish dependency and was arrested and condemned For treason through the machinations of the Duke of Alba, his enemy and the military governor of Flanders. In the overture we hear contrasted moods that express at once the conflict of patriotism and love, and of harsh Spain and suffering Flanders; this is a completely satisfying and convincing ambivalence that is music's special property.

Collins Classics OFFICIAL - Beethoven (FULL ALBUM)
Symphony No.6 "Pastorale" and Egmont Overture Op.68
Buy it here: http://apple.co/1IRxKWV
Spotify: http://spoti.fi/204jBk0
Read the CD booklet here: http://bit.ly/1JzFqNs
0:00 I AllegroMa Non Troppo "Awakening of cheerful feelings on arrival in the countryside."
12:24 II Andante Molto Mosso "Scene by the brook."
25:35 III Allegro "Merry gathering of country folk."
31:11 IV Allegro "Thunder. Storm."
34:49 V Allegretto "Shepherd's song. Happy and thankful feelings after the storm."
45:48 VI Sostenuto Ma Non Troppo "Egmont Overture"
Conducted by James Loughran
Performed by the London Philarmonic OrchestraSymphony No. 6 in F major, Op. 68 ‘Pastoral’
Beethoven provided the movements at this symphony with titles, as well as the work itself; but he also declared that he was concerned with sensation rather than depiction — in fact his
own musical reactions to country Iife, and not what life in the country looks and sounds like. There is in fact some pictorial effect in the Pastoral Symphony: the birdcalls at the end of the
Andante sound Iike birdcalls and not like Beethoven’s reaction to birdsong; and the Storm is perfectly vivid, But the work is not a country diary which can be followed step by step, and so
it is probably best to think about the music as music.
The Pastoral was completed quite quickly, for Beethoven, between 1807 and 1808, as a relaxation from the ardours at the Fifth Symphony. The two symphonies were performed together
at a concert in 1808, and both were dedicated to two at Beethoven's princely friends jointly.
The symphony opens at a relaxed tempo but with bracing thoughts, and the subtitle speaks of the blessed exhilaration that the town—dweller feels on breathing country air’. The music is
more lyrical than dramatic, and the ideas which supplement the easy— going first tune are presented in a conversational, almost obviously not quite casual manner, though they are thoroughly expanded as the movement proceeds. The whole thing sounds what it is, a contrast to the electric drama of the Fifth Symphony.
The broad unhurried pace is maintained in the slow movement which was inspired by the landscape at a riverside. As the movement unfolds expansively, so too the music grows more
sonorous and warmer, with the rich advantage at divided and muted cellos. When the famous birdcalls arrive, they are neatly dovetailed into a longer phrase, and the cuckoo call is echoed
unobtrusively in the second half at the phrase by bassoons. The scherzo has the subtitle, ‘High-spirited reunion at country Folk’; it is mercurial and yet sturdy in mood, not at all unlike the scherzo part at the corresponding movement in the Seventh Symphony, Beethoven comes near to tone—painting in the trio section, where it is easy to hear the stamping of hob—nailed boots, but the inspiration has undergone a transformation into musical poetry, and it is more exact to say that the music is danceable, rather than literally danced. Beethoven was in the habit of enlarging his scherzo form by playing the trio section twice, but this time the second trio is interrupted by a pattering figure that heralds the Storm section, for which Beethoven augmented his orchestra with a piccolo, trombones and, for the first time in this symphony, the
drums. When the storm has passed, a sigh of relief from the oboe leads to C major and the finale. And this unorthodox key shows that the movement had actually begun with the Storm in F minor, which is perfectly proper key for the introduction to an F major movement. The descriptive part of the symphony here is the excuse for a reintroduction of the eloquent formal device that Beethoven was simultaneously practising in the Fifth Symphony — an introduction to the finale that sounds like a bridge passage though it isn’t one. The Allegro port of the finale is built on a cowcall, and is headed ‘Shepherds Hymn‘. Like the ﬁrst movement it deliberately avoids drama and obvious symphonic effect, though the climax is overwhelming,
’Egmont' Overture, Op. 84
After Fidelio, Egmont is Beethoven's most substantial dramatic score. As with the third Leonora overture, so the overture to Egmont is a grand tone poem summing up the emotional content
of the drama. Egmont, Prince of Gaure, saved Flanders from the French invasion, at a time in the sixteenth century when the Netherlands were under Spanish rule. He protested against the
decision to make Flanders a Spanish dependency and was arrested and condemned For treason through the machinations of the Duke of Alba, his enemy and the military governor of Flanders. In the overture we hear contrasted moods that express at once the conflict of patriotism and love, and of harsh Spain and suffering Flanders; this is a completely satisfying and convincing ambivalence that is music's special property.

Beethoven - 6th Symphony - Pastoral

Life in a year of pictures set to one of the most beautiful pieces of music ever created.
Check out our Websites
WorldUnitedMusichttp://worldunitedmusic.blogspot.com/
World United Awakening
http://worldunitedawakening.blogspot.ca/
Art & Expressions of SF Brennan
http://sfbrennanart.blogspot.ca/
World United News
http://worldunitednews.blogspot.com/

Collins Classics OFFICIAL - Beethoven (FULL ALBUM)
Symphony No.6 "Pastorale" and Egmont Overture Op.68
Buy it here: http://apple.co/1IRxKWV
Spotify: http://spoti.fi/204jBk0
Read the CD booklet here: http://bit.ly/1JzFqNs
0:00 I AllegroMa Non Troppo "Awakening of cheerful feelings on arrival in the countryside."
12:24 II Andante Molto Mosso "Scene by the brook."
25:35 III Allegro "Merry gathering of country folk."
31:11 IV Allegro "Thunder. Storm."
34:49 V Allegretto "Shepherd's song. Happy and thankful feelings after the storm."
45:48 VI Sostenuto Ma Non Troppo "Egmont Overture"
Conducted by James Loughran
Performed by the London Philarmonic OrchestraSymphony No. 6 in F major, Op. 68 ‘Pastoral’
Beethoven provided the movements at this symphony with titles, as well as the work itself; but he also declared that he was concerned with sensation rather than depiction — in fact his
own musical reactions to country Iife, and not what life in the country looks and sounds like. There is in fact some pictorial effect in the Pastoral Symphony: the birdcalls at the end of the
Andante sound Iike birdcalls and not like Beethoven’s reaction to birdsong; and the Storm is perfectly vivid, But the work is not a country diary which can be followed step by step, and so
it is probably best to think about the music as music.
The Pastoral was completed quite quickly, for Beethoven, between 1807 and 1808, as a relaxation from the ardours at the Fifth Symphony. The two symphonies were performed together
at a concert in 1808, and both were dedicated to two at Beethoven's princely friends jointly.
The symphony opens at a relaxed tempo but with bracing thoughts, and the subtitle speaks of the blessed exhilaration that the town—dweller feels on breathing country air’. The music is
more lyrical than dramatic, and the ideas which supplement the easy— going first tune are presented in a conversational, almost obviously not quite casual manner, though they are thoroughly expanded as the movement proceeds. The whole thing sounds what it is, a contrast to the electric drama of the Fifth Symphony.
The broad unhurried pace is maintained in the slow movement which was inspired by the landscape at a riverside. As the movement unfolds expansively, so too the music grows more
sonorous and warmer, with the rich advantage at divided and muted cellos. When the famous birdcalls arrive, they are neatly dovetailed into a longer phrase, and the cuckoo call is echoed
unobtrusively in the second half at the phrase by bassoons. The scherzo has the subtitle, ‘High-spirited reunion at country Folk’; it is mercurial and yet sturdy in mood, not at all unlike the scherzo part at the corresponding movement in the Seventh Symphony, Beethoven comes near to tone—painting in the trio section, where it is easy to hear the stamping of hob—nailed boots, but the inspiration has undergone a transformation into musical poetry, and it is more exact to say that the music is danceable, rather than literally danced. Beethoven was in the habit of enlarging his scherzo form by playing the trio section twice, but this time the second trio is interrupted by a pattering figure that heralds the Storm section, for which Beethoven augmented his orchestra with a piccolo, trombones and, for the first time in this symphony, the
drums. When the storm has passed, a sigh of relief from the oboe leads to C major and the finale. And this unorthodox key shows that the movement had actually begun with the Storm in F minor, which is perfectly proper key for the introduction to an F major movement. The descriptive part of the symphony here is the excuse for a reintroduction of the eloquent formal device that Beethoven was simultaneously practising in the Fifth Symphony — an introduction to the finale that sounds like a bridge passage though it isn’t one. The Allegro port of the finale is built on a cowcall, and is headed ‘Shepherds Hymn‘. Like the ﬁrst movement it deliberately avoids drama and obvious symphonic effect, though the climax is overwhelming,
’Egmont' Overture, Op. 84
After Fidelio, Egmont is Beethoven's most substantial dramatic score. As with the third Leonora overture, so the overture to Egmont is a grand tone poem summing up the emotional content
of the drama. Egmont, Prince of Gaure, saved Flanders from the French invasion, at a time in the sixteenth century when the Netherlands were under Spanish rule. He protested against the
decision to make Flanders a Spanish dependency and was arrested and condemned For treason through the machinations of the Duke of Alba, his enemy and the military governor of Flanders. In the overture we hear contrasted moods that express at once the conflict of patriotism and love, and of harsh Spain and suffering Flanders; this is a completely satisfying and convincing ambivalence that is music's special property.

Surname

A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.

The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.

The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.

Not just any piano piece, but capital-B Beethoven...Campbell, a firm believer of both showing and telling, assured that he could teach me — a piano Luddite — “Beethoven in less than 30 minutes.” ... Campbell leads me through a quick lesson, showing me the sections of the piano keys and how sounds of those sections work, leading me through his transformed, somehow-simple-to-play version of Beethoven’s Fur Elis....

Not just any piano piece, but capital-B Beethoven...Campbell, a firm believer of both showing and telling, assured that he could teach me — a piano Luddite — “Beethoven in less than 30 minutes.” ... Campbell leads me through a quick lesson, showing me the sections of the piano keys and how sounds of those sections work, leading me through his transformed, somehow-simple-to-play version of Beethoven’s Fur Elis....

The streaming company will recompense songwriters not paid enough royalties, but one unhappy music publisher claims ruling is ‘a free pass on wilful infringement’. @ben_bt ... The class action, a combination of the two lawsuits, originally came from David Lowery, an musicians’ rights advocate from the band Camper Van Beethoven, and Melissa Ferrick, a songwriter and owner of a music publishing company ... ....

Spotify has faced a number of accusations regarding violations of copyright in recent years and this week saw one of those looming lawsuits put to bed ...The Hollywood Reporter first reported the settlement, which marks the conclusion of two separate lawsuits filed by musicians David Lowery of Camper Van Beethoven and Melissa Ferrick that were combined into a class action ... That’s not to say everyone is thrilled by the result....

There was not a trace of immaturity. It was incredible.” ... On May 28 at San Jose’s CaliforniaTheater, the SteinwaySociety presents the pianist from Seoul, on the occasion of his 24th birthday, in a recital of works by Beethoven, Schumann, Chopin and Debussy... But he made up for lost time ... “What a discovery it was ... SEONG-JIN CHO. Performs a program of Schumann, Beethoven, Debussy and Chopin, presented by the Steinway Society. When....

Facebook AI Research (FAIR) team yesterday announced a neural network capable of “translating music across musical instruments, genres, and styles.” The research paper was first spotted by tech-news site TheNextWeb ... “For example, we convert the audio of a Mozart symphony performed by an orchestra to an audio in the style of a pianist playing Beethoven…”. “Our results present abilities that are, as far as we know, unheard of ... ....